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ARCHITECTS' 



MANUAL OF: 



Painting # Decoration, 

Containing Full Specifications for the 
Information And Convenience 

OF Architects and ^^ 

Builders. 

no n 2 




CHICAGO; 
Heath & Milligan Manf'g Co 
' ' 1891. 




HEATH A MILLIGAN MANF'G CO. FRINT , CHICAGO. 



7 



Copyrighted by Heath & Milligan Manf g Co., 1891. 



■r- sz/y/ 



TO THE ARCHITECT: 



m 



§F late years, we have had many inquiries, both by mail and in 
person, as well as through our agents, as to the best manner ot 
specifying *' painters' work." These inquiries have come from 
prominent architects and builders, and have been answered, 
individually, to the best of our ability, and our efforts in this 
direction seem to have been appreciated. Although we have never 
pretended to give instructions to an architect, regarding specifi- 
cations, we believe that an outline of something in the way ot 
painter's and decorator's specifications will be welcomed by 
him ; not in the light of a line of instructions, teaching him this part 
of his business, but rather as an aid in the matter of technicalities- 
saving time and annoyance in looking after a painter whose work 
may be so full of ''outlets" that the good intentions of the architect 
become crossed, as it were, and a result inferior to that aimed at is 
obtained. Specifications are like lawyers' documents ; an assailable 
clause or an error here and there, will tend to invalidate the whole 
claim and make the writing useless. These little oversights in a 
specification afford a contractor the means of evading, to a large 
extent, the full agreement to which the architect intended to bind 



him. If we can better this state of things any by offering some- 
thing a Uttle more thorough in the way of specifying such work, 
and by setting forth a few ideas in the way of color effect, that can 
be made useful, we believe the profession will accept the same in the 
spirit in which it is given. We have endeavored to cover in these 
specifications, the kind and style of work in vogue at the present 
time, from the ordinary, everyday job to something higher in the line 
of painting, wood finishing and wall decorating. We give everything 
for what it may be worth as a suggestion, on which many improve- 
ments may be made and new ideas brought out that otherwise would 
not be thought of. 

These specifications, it will be understood, are neither intended 
nor expected to be embodied in any set of plans, as a whole; but 
will serve to quote, where the kind or manner of work they represent 
is such as may be wanted. We do not imagine we have covered 
every kind and style of painter's work; but we hope that our offering, 
though incomplete, may be of some litttle use to both the architect 
and the painter. 

Respectfully yours, 

HEATH & lAILLIGAN MANF'G CO., 

CHICAGO. 



. . . THREE STORIES . . . 

SPECIFICATIONS 1°^ PRINTERS' WORK. 

. . , OUTSIDE PAINTING . . . 

LL iron or other metal work in this building to be painted 
two coats, as follows: All cast or wrought iron to be primed 
with Iron Mineral in Oil; all seams, holes or other imperfections 
of surface to be well puttied up and the iron painted a second coat 
to finish. 

All galvanized iron or zinc work to be primed with a Zinc 
Paint; puttied up and given a second coat to finish. This metal work 
must be cleaned of all machine oil or grease, with benzine, before 
any paint is put upon it. 

Colors selected by superintendent. 

All wood work, not to be finished in natural colors, must be 
primed, puttied up and painted a second coat to finish. All knots 
and sappy places to be coated with shellac before priming. 



All hardwood doors, casings, sash or other construction of oak, 
walnut or other porous wood to be finished in the natural color, or 
stained, as the superintendent may direct; filled one coat and given 
one coat of outside varnish. Several shades of putty must be used 
to match the different colors of the wood, after the filling is done, 
and before the varnish is put on. 

, , , INSIDE PAINTING . , . 

All hardwood, of a porous nature, to be filled in the natural 
color, the filling well cleaned off, the work carefully puttied up, and 
the whole given one coat of Hard Oil Finish or Wax Varnish, as the 
superintendent may direct, from samples shown by the painter. 
The puttying must be matched to the different shades of the wood. 

All pine or other woodwork to be painted must be given two 
coats ; sandpapered after the priming, puttied up after the sand- 
papering and finished in gloss. Benzine, Naphtha or Coal Oil 
must not be mixed with any of the paint used on this work. For- 
feiture of payment for that part of the work on which it is used, will 
be the penalty for so doing. 

. , . WALLS AND CEILINGS , , , 

The walls and ceilings of kitchens and bath rooms to be 
primed with oil paint, the imperfections puttied up after the prim- 



ing, and finished with two coats of paint ; the last coat to be a 
turpentine flat, or a gloss, as directed by the superintendent, and 
both coats stippled to take out the brush marks. Strain all paint 
before using. 

, x\ll other walls and ceilings, excepting those of back stairways 
and basements, including the stores, to be tinted in water colors 
(calcimine), in two shades; the lighter on the ceiling, cornice 
centerpieces and other moulded plaster, and the darker on the 
walls. This work to have two coats of color, or one coat of size 
and one coat of color to make a solid, even tint. 

This tinting must be well glued to prevent rubbing off, and all 
color must be strained before using. No lime or any mixture 
containing lime must be used on this work. All small cracks and 
breaks, that may be in the plastering when the tinting is to be done, 
must be filled by the painter with clear plaster of paris, mixed in 
water to a putty, allowed to dry, and coated with shellac before 
the color is put on. 



The painting contractor will be required to clean off all paint 
or calcimine spots that may be found on the walls, ceilings or wood 
work after his work is done, leaving the entire job in good order and 
subject to acceptance of the architect or superintendent. All 
painters' material and tools must be removed from the building 
before final certificate is issued on his contract. 




a-OOID IBESIIDEINrOE TOB_ 

. . . OUTSIDE PAINTING . . . 

fHE outside walls of this building to be finished in three coats of 
the best weather-wearing paint, showing a bright gloss on the 
last coat. All window casings, copings, cornice, down-spouts or 
other wood or metal construction, to be painted three coats of the 
same material used on the brick walls. The wood work must be 
thoroughly puttied up after the priming is on. Three shades of 
color, approved by the superintendent, to be used as body and 
trimming colors, for the last coat. 

All hardwood doors to be thoroughly filled in the natural color 
of the wood (or stained darker, as may be ordered by the superin- 
tendent), and all nail holes or other indentations evened up with 
matched putty. One coat of Light Liquid Filler to be applied, 
and the work brought up with two coats of carriage rubbing 
varnish ; the last coat rubbed to a good finish with fine pumice 
stone and oil — four days being allowed for it to dry before rubbing. 



. . . INSIDE HARDWOOD FINISHING , . . 

The first and second story halls will be in quarter-sawed white 
oak; the dining room in mahogany and the library in black walnut. 
All these woods to be given two coats of Filler and all the pores 
and checks perfectly evened up. The wood must be kept in the 
natural color and all puttying closely matched. One coat of Light 
Liquid Filler and two coats of the best Hard Oil Finish will 
complete the coating, the last coat to be brought to a cabinet finish 
with pumice stone and oil. Three days between the two coats of 
hard oil and four days for the last coat must be allowed for drying. 
None of this work to be rubbed until the last coat has stood at least 
four days. 

, , , FEONT ALCOVE CHAMBER ... 

The wood work in this room will be bird's-eye maple and 
finished as follows: One coat of Light Liquid Filler and 
two coats of white shellac ; the work to be smoothed up with fine 
sandpaper, after the first coat of shellac, and all imperfections filled 
up with matched putty. Allow three days for the last coat of shellac 
to harden, and rub to a fine finish with pumice stone and oil. 

All this wood work must be wiped perfectly clean and dry of 
oil and pumice stone, the quirks and corners well cleaned out and 



10 



the job left in first-class workmanlike condition. This order will 
also apply to all other wood finishing in the house. 

. . . BATH ROOMS ON FII^ST AND SE0OND FLOOI^S . . . 

These will be finished in oak, like the halls, and the painters' 
work to be carried out in the same manner, as specified for the halls. 
The kitchen will be finished in Georgia pine and to have one coat 
of Light Liquid Filler, and one coat of Light Hard Oil Finish. No 
rubbing required. Matched putty must be used after the first coat 
is on, as specified for all wood work. 

, , , PAI^LOR . . . 

The wood work of the parlor will be pine, or other soft wood, 
and to be finished in the following manner: One coat of Light 
Liquid Filler and three coats of Pearl White; puttying to be done 
with white lead putty, after the first coat of white is on, and sand- 
papered. The first two coats of Pearl White to be thinned with 
half and half boiled oil and turpentine only. This work must be 
done well, and none but a first-class job will be accepted. The 
wood work of all the second and third story chambers, excepting 
the front alcove and the servants' rooms to be painted in Parti- 
Colors, three coats, as follows: Two coats in half and half oil and 
turpentine, and one coat flat, three shades, to finish. The colors to 



be selected to match or harmonize with the furnishings of each 
room, and to be arranged as the superintendent may direct. The 
puttying must be done after the priming, and all sandpapering 
before the puttying. This work must be done smoothly ; no coarse 
brush work or inferior flatting will be accepted. 

The wood work of the servants' rooms and all other wood 
work shown in the plans, but not itemized in these specifications, 
to be finished in three coats of gloss paint, one color; shade to be 
selected. The work in the servants' rooms and back stairway to be 
sandpapered after the first coat, and well puttied up. No ''finger " 
puttying will be allowed on any of this work. It must be solidly 
forced in and evened up with the knife, except in places where the 
knife cannot be used. 

. . . WALLS AND CEILINGS . . , 

The ceilings, frieze and cornice of the front alcove chamber to 
be tinted in fresco (water colors). The ceiling to be in cream color; 
the alcove of the cornice in a deeper shade of the same tone,stippied 
with light gold bronze; the mouldings in a soft, light vermilion pink. 
The walls to be painted in oil colors, a shade of the wood work, 
four coats; the last coat flat; the third and fourth coats stippled, to 
take out the brush marks. The frieze to have a tint of the same 



12 



tone as the wall, a shade darker. The ceiling to be decorated in 
softly tinted maple leaves (autumn shades) and sprays of wild roses, 
painted free hand. The frieze to have a full width border, sten- 
ciled in the maple leaf colors, the design of which must be 
in forms of the leaf and wild rose blossoms. Under the picture 
moulding there must be a stenciled ornament, ten inches deep, in 
one shade of the wall (darker), arranged after the manner of a gar- 
land or festoon, indicating leaves and flowers of the wild rose. 

All the other chambers on the second and third stories to be 
tinted in fresco colors, in shades to harmonize with the furnishings; 
with simple decoration on the ceilings. 

The bath room to be painted four coats, stippled and finished 
flat. Color to be selected. 

, . , PARLOR , , , 

The ceiling cornice and frieze of the parlor to be tinted in 
fresco colors with stile and panel. The panel to be light silver 
gray; the stile of a soft buff color, eighteen inches wide, following 
the line of the cornice. Dividing the stile and panel will be a 
line of gold leaf gilding, two inches wide, with a fine outline of 
black. A shade line one-half inch wide to be drawn in on the gray 
panel three-quarters of an inch from the gold line. Inside of this 



13 



line, on the panel, to be stenciled a border sixteen inches wide, of 
approved pattern, in two shades of buff; one lighter and one darker 
than the ground. The frieze to be tinted a rich golden buff, on 
which must be stenciled a full width border in a shade darker than 
the ground and silver gray (also darker than the ground). The 
cove of the cornice to be tinted in gray, a shade darker than the 
ceiling, stippled with gold bronze, and the mouldings to be light 
cream color. In the cove to be stenciled an ornament in one color 
^a cool buff. The walls to be painted in oil colors, four coats, the 
last coat flat and stippled like the other painted walls already speci- 
fied. Under the picture moulding a stenciled border ten inches 
wide, of a shade darker than the wall, must be placed. The color 
of the wall to be a golden buff, matching the tint of the eighteen inch 
stile on the ceiling. The treatment of the walls and the ceilings of 
the halls, library and dining room to be the same as specified for 
the parlor, except that each apartment must be different in color 
from the others and a different arrangement and design of ornament 
must be used to suit each case. The walls must all be painted in oil 
colors, in the same way as the parlor walls, and all above the picture 
mouldings in fresco colors. 

The taste of the superintendent and his clients must, of course, 



14 



be consulted in the selection of colors and ornament for this work. 
The contractor for painting, finishing and decorating will be 
required to clean off and touch up all imperfections that may appear 
when the job is completed (such as paint or water color spatters, or 
dirty marks on walls, ceilings or wood work), to the entire satisfac- 
tion of the superintendent, and must remove all working materials 
and tools from the premises before final certificate on contract is 
issued. 



15 



FIRST-CLASS RESIDENCE. 

STONE HOUSE and STABLE. 

. . , OUTSIDE PAINTING. FINISH, ETC, , , , 

LL wood work on the outside of this building, and also of the 



P'i stable and carriage house (except the hardwood doors and 
sash), to be painted three coats of the best weather-wearing paint ; 
color selected from samples. 

All nail holes and other imperfections of surface, such as seams 
or cracks into which water or snow can penetrate, must be 
thoroughly filled with white lead putty, after the priming coat is on. 
No puttying will be allowed on any part of this work before the 
wood has been primed or oiled. Turpentine must not be used in 
either the priming or last coat. The finishing coat to be a bright 
oil gloss. 



16 



, , .-IRON WORK . . . 

All iron work shown on the plans or designated in the builder's 
specifications, such as roof cresting, balcony railings and window 
guards, to be painted two coats; the first of Magnetic Iron Mineral 
and the second of Black Paint Varnish. 

These guards and crestings to be illuminated with gold leaf 
gilding; the quantity used to be fifty books (two and a half packs). 
Any gilding in excess of this amount that may be ordered by the 
superintendent, will be paid for at the rate of ^1.00 a full book, laid 
on and finished. This will include the iron work on the stable and 
carriage house. The painter to be instructed as to parts to be 
gilded. 

. . , OUTSIDE HARDWOOD . . . 

All the outside doors and sash to be finished in the natural color 
or stained, as the superintendent may direct. All sash to be filled 
one coat before the glass is set. The glass to be run with putty 
matched to the color of the wood. Two coats of outside wearing 
varnish to be put on the sash after the filling. No rubbing required, 
except on the main story front, which sash must be rubbed to a finish 
with pumice stone and oil. 



17 



The outside doors and parts of casings made of hardwood, 
to be filled thoroughly with the best manutactured Wood Filler. 
The front and side doors to have two coats of Filler and all 
the others one coat. All the puttying to be done after the filling 
is completed, and the putty must be matched to the different 
shades in the wood. A first-class job of finishing is required; 
therefore this filling and stopping up must be done perfectly. These 
doors, etc., must next be coated with Liquid Filler, one coat, and 
brought up thereafter with two coats of the best rubbing varnish 
made for outside work. Four days must be allowed for hardening, 
between coats, and five days for the last coat to dry before rubbing, 
which will be done with fine pumice stone, rubbing felt and oil. 

. , . INSIDE HARDWOOD , , . 

All the coarse grained wood, such as oak, walnut and mahogany, 
to be treated the same as the outside doors, up to and including the 
coat of Liquid Filler. Two coats of first-class rubbing varnish 
must then be applied. The first coat, after drying four days, to be 
smoothed up with No. sandpaper, split and dampened to pre- 
vent scratching. The second coat of varnish, when ready for rub- 
bing, to be finely finished with rotten stone and Polish. Felt must 



18 



be used for all the rubbing, and no part of the work slighted. The 
edges or returns of the door and window casings to be made suf- 
ficiently smooth with fine sandpaper and oil. 

All the finer grained hardwood, not requiring solid filling, to be 
coated with Liquid Filler and given two coats of the same rubbing 
varnish, and finished in rotton stone and Polish in the same manner 
as the other hardwood. 

The varnishing must not be done while there is dirt or dust in 
the room. The contractor must be particular about this and must 
do no varnishing until he can have the apartment entirely to himself, 
the place thoroughly swept and dusted out and the floor sprinkled 
with water. 

. . . FLOOI^S , , . 

The floors of the dining room, library and principal sleeping 
room will be in parquetry, and are to be well filled with solid Filler; 
coated twice witli Liquid Filler and finished with two coats of hard 
rubbing or carriage gear varnish, put on heavy with very little or no 
thinning. This floor work to be the last done and must be left by 
the finisher in a first-class condition. 



19 



. . . PAI^LOI^ WOOD WORK. SOFT WOOD , . . 

The wood work of this room to be finished in old ivory color, 
deep shade, dead surface, as follows: One coat of Liquid Filler as 
a primer; all imperfections filled with white lead putty and work 
given two coats of Pearl White, tinted to the shade required, thinned 
with half and half boiled oil and turpentine with patent dryer to 
harden. 

The last coat to be smoothed up with sandpaper and the work 
brought up with two coals of flake white, ground in japan, thinned 
with damar varnish. These coats to be tinted to the proper shade 
with colors ground in japan. Three days must be allowed between 
the last two coats, and four days after the last coat, before rubbing. 
This work must be rubbed with pumice stone and water and left 
with a clean, fine surface. The panels of the doors and the mould- 
ings around the panels to have a quarter inch stripe of gold leaf 
gilding; the doors and window casings to be furnished with an all- 
around stripe of the same width in gold leaf. Any extra gilding, 
when ordered by the superintendent, to be paid for at the rate of 
$1.00 per book, laid on and finished. 



20 



II 



. . , GHAMBEI^S, WOOD WORK. SOFT WOOD . . . 

The principal sleeping room or chamber marked Aon plans, to be 
finished in the same manner as the wood work of the parlor, except 
that it must be in three tints — parti-colors. The last two coats to 
be " cut in " with the finishing shades and rubbed to a fine surface 
with pumice stone and water. Colors to be selected. The same 
kind of surface as specified for the parlor will be required. Gilding 
for this room will not be figured in painter's estimate. 

. . . GUEST CHAMBER ... 

The wood work of this room to be finished in the same manner 
and have the same quality of surface as the first or principal cham- 
ber, except that the color must be in three shades of canary yellow: 
the darkest in the panels, the lightest on the mouldings, and the 
medium shade on the flats or stiles. The contrasts to be soft and 
the eff'ect rich and light. 

. . . CHAMBEI^S MARKED A. B AND C ON PLANS . . , 

The wood work of these rooms to be painted as follows: Room 
A to be finished in ivory gloss; one coat of Liquid Filler, two coats 
of Pearl White in half and half boiled oil and turpentine, smoothed 



21 



up with fine sandpaper and coated to a finish with two heavy coats 
of ivory tinted flake white in japan, thinned with damar varnish. 
Full time as before specified to be allowed for drying, and the work 
rubbed with fine pumice stone and water to a smooth surface. 

When the work is completed to this point and thoroughly 
cleaned up it must be oiled off with bleached oil or sweet oil and 
wiped perfectly dry with clean cotton rags. 

Rooms B and C to be finished in parti-colors in two or three 
tints, as desired by owner. The ground to be brought up to the 
third coat in the same manner as room A, only the two coats of 
paint must be tinted like the darkest shade of the parti-colors in 
which the work is to be finished. This work must not be rubbed, 
but must be flatted on the last coat and a fine smooth job of brush 
work produced. 

. . . THII^D FLOOR GHAMBEI^S. WOOD WOI^K , . . 

All the rooms on this floor, except the servants' rooms, to be 
painted in parti-colors with three coats of paint, having one coat of 
Liquid Filler as a primer. Colors to be selected. First-class brush 
work will be required here as elsewhere. 

All servants' rooms to be painted three coats of paint only, the 



22 



last coat in egg-shell gloss. The color to be selected, and but one 
shade of color in all cases. 

. . . CLOSETS IN CHAMBERS , , . 

All the closets to be painted in three coats, including walls, 
ceilings and wood work, in light colors. The tints to be in the tone 
of the room in which the closet is situated. Should hardwood be 
substituted for pine in any or all of these closets, it must be finished 
in the natural and rubbed with pumice and oil, one coat of Liquid 
Filler and two coats of rubbing varnish. The contractor must see 
that no puttying is done until the wood has been primed or filled. 

. . . BATH ROOMS, WOOD ¥/ORK . . . 

Bath rooms on second and third floors, except the one adjoin- 
ing the * room, will be built in maple or satin wood and must be 
finished with one coat of Liquid Filler and two coats of fine rubbing 
varnish. The rim of the tub, if of wood, to have four coats of var- 
nish. This work must be rubbed with pumice stone and oil to a furn- 
iture finish. The * bath room will be finished like the * chamber. 

. . . HALLS AND VESTIBULE. WOOD WOI^K , . . 

The wood work of the vestibule and lower hall will be in light 
mahogany and must be finished in the same manner specified under 



23 



the heading '' Inside Hard Wood " The wood work of the second 
and third story halls to be coated up in the same manner and 
finished with pumice stone and oil. The stairway to be done in the 
same manner as upper halls, excepting the main newel post and 
hand rails, which will be polished with rotten stone and Polish, oiled 
off with white oil and rubbed dry. 

The back stairway and servants' bath room to be filled one coat 
and finished with one coat of Liquid Filler and one coat of varnish 
of the same quality used on the other hard wood. No rubbing 
required. 

. . . BILLIARD AND SMOKING ROOMS , , . 

The wood work in these rooms to be finished in one coat of 
Liquid Filler and two coats of varnish, rubbed to a cabinet finish 
with pumice stone and oil. 

. . . OILY RAGS . . . 

All rags that have been used in wiping up oily wood work, or 
that have oil on them from any other use, must be gathered up and 
burned, or removed from premises at the end of each day's work. 
As oily rags are often the cause of destructive fires, a close watch 
must be kept in this particular, and any man leaving such rags in 



24 



the house or out-buildings will be discharged at once; and the con- 
tractor will be fined ten dollars ($10.00) each time it can be proved 
that his w^orkmen left oily rags on the premises. Contractors 
figuring on this work must accept these terms and signature of the 
contract binds the contractor to them. Further, there shall be no 
smoking inside of these buildings, and spitting tobacco juice on the 
floors or in the registers is strictly forbidden. Any man found vio- 
lating these rules will be immediately discharged. All dirt or 
rubbish must be cleaned out of the building every night by the con- 
tractor whose workmen made it. This applies to the painter as well 
as others. 

. . . OTHEI^ WOOD WOI^K . . . 

The wood work of the basement, except the coal bins, to be 
painted two coats common oil paint. All knots must be coated 
with shellac before priming. Laundry and store rooms to have one 
coat of Liquid Filler and two coats of light stone color; oil gloss. 
The kitchen wood work wqll be in white pine and to be finished with 
one coat of Liquid Filler and two coats of rubbing varnish. The 
doors and fronts of casings around doors and windows to be 
rubbed with pumice stone and oil. The pantry and closet to be 



25 



finished in the natural wood, three coats, like the kitchen, and left 
without rubbing. 

. . . 0ARRIAGE HOUSE AND STABLE . . . 

The outside doors to be given one coat of boiled oil and 
turpentine (% oil), and two coats of outside rubbing varnish, with- 
out further work. The inside wood work of the building to be 
finished in the same manner without rubbing, except in the coach- 
man's living apartments over carriage house. The walls and ceil- 
ings of all the rooms and closets to be painted four coats and 
stippled on the last two coats, leaving a flat finish. Colors to be 
selected. The stairway leading to these apartments to be finished 
in the natural, like the other varnished work. 

Colored designs in fac-simile to be submitted for approval by- 
decorators competing tor the work specified under the heading of 

. . . WALLS AND 0EILINGS . . . 

The ceiling of main or lower hall to be painted in oil in a 
reddish buff to harmonize with the mahogany wood work. The 
ground to be rough pebbled or morocco finish, made with thick 
"roughing," stippled and painted to a dead or flat finish. The 



26 



ceiling to be laid off in panels in which must be painted ornaments in 
the early Renaissance style in the colors of the mahogany, old blue 
and gold. The walls must be treated in the same manner, as to 
ground and color, with an "all over" pattern stenciled in and 
relieved with hand work. This treatment to extend up to a proper 
architectural stopping place at the second floor landing. The ceil- 
ing over the stairway to be enriched in the same manner, but with 
a more effective design. Gold leaf gilding only on this work. 

The walls and ceilings of the second and third floor halls to be 
painted smoothly four coats with a flat stippled finish. A dado, 
three feet above base board, to be put on in lincrusta walton (pat- 
tern selected) and painted two coats, the last coat in varnish gloss. 
Two shades of color to be used (matching the hardwood of the hall) 
to enrich the lincrusta dado. An eighteen-inch frieze of appropriate 
design to be painted at the top of the wall and a twelve-inch border 
over the top of the dado. The ceilings to be decorated with a 
design of interlaced lines of different widths, and outlined. The 
colors on the ceiling and wall decorations to be soft — old blue and 
shades of the ground colors. No bronze or imitation gold to be 
used on the above work. 



27 



. . . PARLOI^ . . . 

The ceiling of the parlor to be painted in oil colors with a flat 
or dead surface and a smooth ground. The design of the decorative 
features to be in Louis XVI French Renaissance, with a soft 
clouded sky effect in light blue and creamy tints. The ornamenta- 
tion to consist of a graceful scroll twenty-four inches w^ide, follow- 
ing the line of the cornice all around, out of which will spring softly 
painted flowers and sprays, melting or blending into the ground 
colors as they near the center. The effect of this work must be 
light and airy; no heavy or stiff" forms of ornament or color will be 
accepted. The cornice to be tastefully colored with a rich design 
in conventional forms in the cove, having about half of its figures in 
gold leaf. The moulding which shows the largest plain surface to 
be enriched with an appropriate ornament in soft blue and gold, the 
blue and gold being equal. The walls to have a frieze thirty-six 
inches wide, at the lower edge of which must be a three-inch orna- 
mental picture moulding. The frieze decoration to be a richly 
designed scroll ornament (not a running ornament) and to be painted 
in a variety of tints with gold color and soft blue predominating. No 
animal forms or fragments of human anatomy will be allowed in any 



28 



of these designs. Gracefully drawn figures in full will not be ex- 
cluded. Under the picture moulding to be a garland arrangement 
of flowers as a border, painted in the shades of the wall, the ground 
color to be french gray, painted five coats to a flat stippled finish. 
About twenty books of gold will be figured for this work. 

. . , DINING ROOM , , , . 

About half the surface of the ceiling in this room will be 
covered with a geometrical design in light oak, the balance will be 
plastered and decorated in colors. The decoration of the room to 
be in Oriental Indian style, approximately as follows: The center 
panel of the ceiling to be in medium chrome yellow, pure and sim- 
ple, as a ground; the other panels to be a shade deeper, made by 
the addition of raw umber to the yellow. The ornamentation to be 
in forms best adapted to the shape of the panels and painted in 
vermilion, carmine and gold, with touches of naples yellow and out- 
lines of old blue. The shade of the ground to be used around the 
reds as outlines, and soft black around the gilded figures. The wall 
to be finished in a ground of carmine lightened with english vermil- 
ion to a proper shade. Old blue and soft olive tones to be used on 
the frieze. A border of gold, filigree design, on the red ground, to 



29 



be placed above the wainscoting and under the picture moulding, 
which will be three inches wide and ornamental. The main ground 
of the wall to be supplied with an individual ornament set apart 
about eighteen inches from centers and arranged geometrically as 
an " all over " pattern, in two shades of the wall color, one lighter 
and one darker, soft in contrast, to break the plain surface of the 
ground. The gold specified here must be the best deep gold leaf 
laid in oil size as on all other work where gold is called for. The 
surfaces decorated must be made rough before painting like those of 
the main hall. 

. , . LIBRARY , . . 

This room will be finished in black walnut. The ceiling will be 
full plastered; the wall curving into it with a broad quarter circle to 
form a cove, on which no plaster mouldings will be run. The ceil- 
ing will be laid off, nearest the wall, in rectangular panels, approxi- 
mately two by three feet each, all around, leaving a large panel in 
the center. The panels will be formed by mouldings of wood, 
three inches wide, having this section [^^^^,the flat or face to be 
polished black and the coves gilded. The small panels to be filled 
with a selected pattern of lincrusta walton, which must be covered 



30 



II 



with imitation gold (florence leaf) and coated with a very thin 
varnish or white shellac. The large panel in the center to be 
decorated with a painted design, all over, of an interlaced pattern, 
drawn to fit the panel and to radiate from the center. The ground 
to be a soft leather red and the ornament in shades of the same, 
lighter and darker, and all neatly outlined with the same tone. The 
cove of the room will extend from the picture moulding on the wall 
to the black moulding on the ceiling, and must be laid in with a 
softened Indian red ground, decorated with an interlaced pattern in 
leather colors embodying, at intervals of five or six feet, boldly 
raised figure subjects in lincrusta walton or plastic relief; the raised 
parts to be heightened with metal leaf like that used on the ceiling 
panels; the balance in leather colors. The wall below to be painted 
in a deep tone of leather red. Under the picture moulding to be a 
ten-inch border of interlaced pattern in a darker shade of the wall 
color. 

. , . THE PRIN0IPAL 01^'* 0HAMBEI^ . . . 

The walls and ceiling of this room to be painted in oil, five 
coats, and flatted in the same manner specified for the walls and 
ceiling of the parlor. The decoration of the ceiling to be in tur- 



31 



quoise blue and shades of salmon color, with a design in Persian 
style, wrought out in nickel and gold leaf, and shades of the ground 
for the conventional ornaments, enriched with softly painted flowers 
in natural colors. The cove of the cornice to be decorated with 
soft blue and gold on a deep salmon color ground. The mouldings 
to be tinted with a warm light gray, made of the light salmon and 
blue mixed together. The frieze to have a ground of salmon color 
in four shades, graduating from light to dark, softly blended; the 
whole to have the appearance of a silk or satin ribbon. On this 
ground to be placed a richly designed ornament, to be painted in 
one shade of the ground, one shade of blue and relieved with hand 
painted flowers. 

The walls to be painted in a tint corresponding to that specified 
for the mouldings of the cornice, and under the picture mouldings, 
which will be in blue and silver, to be stenciled a nicely designed 
interlaced border in two shades of salmon color. 

The bath room marked * on the plans, and adjoining this room, 
to have the walls and ceiling painted in the same colors as specified 
for the * chamber. A border of Persian ornament, ten inches wide, 
to be stenciled in soft shades all around on the ceiling, and a twelve 
inch wide border on the top of the wall, in two shades of salmon color. 



32 



. . . GUEST CHAMBER . . , 

The walls and ceiling of this room to be painted in oil colors, 
five coats, like the * chamber, flatted and stippled to a first-class 
finish. The colors of ceiling, walls and cornice, must be in shades 
of canary yellow. 

The decoration of the ceiling to be in lace pattern designs; the 
whole covering about two-thirds of the ground. The ground to be 
tinted dark enough to allow all decorative features to show lighter. 
The cove of the cornice to be decorated to harmonize with the 
ceiling. 

The picture moulding to be placed close up under the cornice, 
below which, on the wall, must be a lace design border, about 
three feet wide, or one-quarter the height of the wall, in creamy 
white. At the bottom of the wall, just above the base board, to be 
drawn three or four lines of a darker shade than the wall, with fine 
outlines still darker. Gilding to the amount of ten books will be 
figured in for cornice and around center piece. That amount of 
gilding must be used in this room. 



33 



. . , CHAMBEI^ A . . . 

The ceiling of this room to be painted in sky blue with soft 
neutral tinted clouds and a flight of swallows crossing diagonally. 
The cornice cove to have an appropriate ornament. The wall to be 
painted a light drab color except at the top or frieze. The frieze to 
be painted like a strip of blue sky, with a light rustic trellis; birds 
and flowers as ornaments. There must be a dado of selected 
lincrusta walton three and a half feet high in this room, painted with 
the wall color and touches of light blue. 

. . . I^OOMS B AND C . . . 

The walls and ceilings of these rooms to be painted in oil, flat, 
stippled to a finish with five coats like all the other rooms previously 
specified. The colors to be in soft tints of pink, gray and cream 
color, to match the shades that may be selected for the wood work. 
The decoration of the ceilings to be in natural forms of leaves and 
flowers, but treated in the neutral shades with which the wood work 
of the rooms is to be painted. Five books of gold leaf to be figured 
for the ceilings and cornices of each of these rooms. A frieze or 
border of about eighteen inches in width (a gracefully designed 
scroll) to be painted above the picture moulding, and under it an 
appropriate border in one shade of the wall color. 



34 



. , . THIRD FLOOR CHAMBERS . , , 

The ceilings of all these chambers, including the servants' 
rooms, to be painted in fresco (water colors) from the picture 
moulding up, and painted in oil, four coats, from the picture 
moulding down to base board. The colors must be suited to the 
tints in the wood work painting and must harmonize with the fur- 
nishings. There must be a stile or band around each ceiling about 
eighteen inches wide, and some simple decoration, consisting of 
lines and stencil work, around the panel. Gold bronze of the 
" french leaf " quality to be used in this decoration instead of gold 
leaf. The walls to be finished in flat stipple like all the other 
painted walls. 

. . , BILLIARD ROOM . . . 

The walls and ceiling of this room to be primed with Sizing 
Varnish and treated in " antique rough work," or combing. The 
arrangement of forms to be artistic and the markings deep enough 
to show good and strong in the changes of light and shade. After 
the combing and all other parts of the roughing is done, the work 
must be painted in oil colors in a variety of tints. The painting to 
be finished flat and the whole surface given a good coat of damar 
and white copal varnish, half and half, and a high gloss produced. 



35 



There is to be no painted ornament on this work unless ordered by 
the superintendent outside ot contract. 

. . . LAUNDI^Y km KITCHEN . . . 

The laundry walls and ceiling to be painted three coats; the 
last coat flat, and finished with one coat of light copal varnish. 

The kitchen walls and ceiling, together with all closets belong- 
ing to it, to be painted four coats in oil and finished in flat stipple. 
Colors to be selected. 

Walls and ceiling of the pantry to be done the same as the 
kitchen. The china closet plastering to be painted three coats in 
oil, the last coat flat and the finishing color deep vermilion. 

, , . BATH ROOMS , . . 

All remaining bath room walls and ceilings to be painted three 
coats in oil, finished flat, with no decoration unless ordered extra by 
the superintendent. 

Note. — All the decorated rooms, including the servants' rooms, to be furnished 
with picture mouldings supplied by the decorator. Design and style to be approved 
by the architect. 



36 



Three Story School House. 

BRICK, WITH STONE TRIMMINGS. 

. . . OUTSIDE PAINTING . . . 

SLL iron work on this building, including the fence around the 
school yard, to be painted two coats. The first coat. Iron 
Mineral and oil; the color of the second and finishing coat to be 
selected by the architect. The tin roof to ha\e two coats of Iron 
Mineral; all down spouts and gutters to be painted one coat of the 
same and one coat of the stone or trimming color. The brick walls 
of the building on all sides, front and rear, must be first coated with 
Priming Ochre; also the stone trimmings and all the door and 
window casings, sash, doors and other wood work shown on the 
plans. The wood work to be thoroughly puttied up and painted 
two coats after the priming, these coats to be of good wearing paint 
with gloss surface. The brick walls to have one coat of Venetian 
red and oil after the priming, and over this one coat of Flat Brick 



37 



Red. All the stone trimmings to be painted the same color as 
specified for the wood work. No brick striping or penciling to be 
figured in this bid. 

. . . INSIDE PAINTING . . . 

All the wood work of the three stories, except that of the halls 
or corridors and the principal's office, to be painted three coats and 
grained light oak. First coat to be Priming Ochre and the last coat 
flat. All knots must be coated with shellac before priming and all 
puttying done after the priming. The graining to be finished with 
one coat of first quality Wax Varnish. This work must be done in 
a workmanlike manner and a good imitation of finished oak must be 
produced. No inferior graining will be accepted. It must have a 
smooth finish when completed. 

The wood work of the corridors or halls, also of the principal's 
office, will be built in oak and other light woods and to be finished 
in the natural. One coat of paste Filler, one coat of Liquid Filler 
of a selected shade and one coat of first quality Wax Varnish will 
be required. All nail holes and other imperfections of surface must 
be evened up with matched putty immediately after the filling. A 
good clean job must be produced and the finish must be fairly 
smooth. 



38 



. . . WALLS AND GEILINGS . . . 

The walls and ceilings of the hall and corridors, including the 
vestibule and dressing rooms, to be painted three coats of oil paint 
and one coat of glue size, the size to be laid on just after the priming 
has become dry. The last two coats must be stippled and the 
surface left with a flat finish. 

The class rooms to be tinted in water colors. The ceilings 
white and the walls light buff. The principal's office, walls and 
ceiling, to be painted in oil like the halls; color selected. 




39 



THREE STORY FRAME HOUSE. 

. . . OUTSIDE . . . 

tLL the surfaces on the outside of this house, including roof 
and chimneys, to be first coated with Priming Ochre, and after 
being well puttied up, to be painted two more coats of Best Prepared 
Paint, showing a body color and two trimming colors, arranged to 
suit owner. All outside sash to be painted black. The roof color 
to be selected from color samples and to be a different shade from 
the body or trimming colors. The runs of the windows must be 
stained, not painted, and left with an oil finish. The ceiling of 
veranda to be painted a light blue. The upper ends or heads of the 
chimneys to be painted black. All blinds must be painted three 
coats, the body color on the slats and the lighter trimming color on 
the rails or stiles. Glazing must be done with black putty and sash 
primed before glazing. 



40 



. . . INSIDE PAINTING . . . 

The hall wood work to be in two shades of deep red made with 
indian red and golden ochre. The darker color to be on the panels 
and other receding parts. The work to have one coat of Priming 
Ochre and two coats of red, the last coat flat. There must be a 
quarter inch stripe of orange bronze in each door panel, also around 
door and window casings. The sash runs in all the windows 
throughout the house to be oiled to a finish and no paint of any 
kind put on them. 

. . . STAIRWAY ... 

The main stairway will be built of hard.vood and must be well 
filled in the natural color; thoroughly puttied up and finished with 
one coat of Liquid Filler and one coat of rubbing varnish. Allow 
the last coat to dry four or five days, then rub to a finish with 
pumice stone and oil. 

. . . PARLOI^ . . . 

The wood work of the parlor to be painted three coats of a 
golden olive tint, light, and striped similar to the wood work of the 
hall with light gold bronze. The painting to be finished flat. 



41 



. . . DINING ROOM . . , 

The wood work of this room to be painted in a shade approxi- 
mating the color of copper. The panels of the doors and wainscot- 
ing to be covered with copper bronze, on which a quarter inch 
stripe of a darker shade (in paint) must be drawn. A border of 
lincrusta walton, six inches wide, above the wainscoting, must be 
painted solid in copper bronze. The floor to have three coats of 
hard drying Floor Paint — dark red. 

. . . CHAMBER A . . . 

The wood work of this chamber to be painted in two shades of 
ivory color, with a flat finish, three coats. A fine stripe of pale blue 
to be run in on the panels and around the casings. The surface 
must be finished without gloss like the foregoing wood painting. 

, . . KITCHEN . . . 

The wood work of the kitchen to be painted two coats and 
grained in imitation of light oak; after which a heavy coat of good 
light wearing varnish must be applied. The walls and ceiling to be 
painted three coats; the last coat with a bright oil gloss. The floor 
to be given three coats of Floor Paint, shade selected from samples. 



42 



, , , SEeOND STORY GHAMBEI^ , . . 

The hall and all the rooms and closets on this floor to have 
wood work painted in two colors; three coats gloss color, shades 
selected. The panels of the doors must be in the darker color and 
all the balance of the work in the lighter tint. All the closet and 
bath room walls to be painted two coats, oil color, the last coat flat. 
The wood work must be finished in the natural color. 

, , . THIRD STORY SHAMBERS . . . 

All the wood work on this floor, including back stairway, to be 
painted two coats, the last one flat. The floors of the second and 
third story must all be painted two coats of Floor Paint of a gray 
color. 

All this wood work must be well puttied (after the priming is 
done) and smoothed up with fine sandpaper. No coarse or inferior 
work in any part will be accepted. The floors will not require 
smoothing, but all nail holes and other indentations must be evened 
up to a fair surface with putty. 

. . . WALLS AND 0EILINGS , , . 

The walls and ceilings of hall, parlor, dining room and chamber 
A, to be done in water colors and paint, as follows: 



43 



HALU WALLS AND GEILINGS IN WATEI^ 0OLORS. 

The ceiling to be a deep golden buff and the walls a rich red 
leather color. The cornice to be tinted in shades made of these two 
colors mixed together. A dado, three feet high from the base board, 
to be i)ainted in oil color of the same tint as the wall, all around the 
hall on the three floors and up the stairways; the last coat to be flat, 
and the whole finished with a one inch wide orange bronze line at 
the top of dado. 

PARLOPv 0EILING AND WALLS IN Y^KTE^ 0OLORS. 

Ceiling, light canary yellow; walls, light coffee and cream tint, 
with cornice in tones made of these colors. 

. . , DINING ROOM IN WATER COLORS . . . 

Ceiling, a light copper color; walls, deep golden olive, and 
cornice moulding in light olive. The cove to be in copper bronze, 
solid. 

CHAMBER A TO HAVE A 0EILING OF 0REAM GOLOI^. 

Walls, vermilion pink, and cornice mouldings light warm gray; 
the cove in a deeper shade of pink. A dado, three feet above base 



4'4 



board, to be painted all around the room, three coats, stipjjled, with 
flat finish and outlined on the top with the cove color. 

These water colors must be put on over a surface of Fresco 
Sizin^i^- Varnish, and well glued to prevent rubbing off dry. Any of 
this work that can be rubbed up with the dry hand will have to be 
done over at the painter's expense. All coloring to be approved by 
the superintendent before the work is begun. 




45 



BRICK AND STONE CHURCH. 

. . . OUTSIDE PAINTING . , . 

r^HP2 iron cresting on all parts of the building to be painted one 
P coat " Magnetic Mineral" in Oil and one coat of Indian red. 
The ivy leaf and quatrefoil ornaments of the iron work on the front 
portico to be gilded to the extent of twenty books of gold leaf. 

The ornamental hinge extensions on front and side doors to be 
done in dark gas fixture bronze and given one coat of carriage 
varnish. All the other metal work, also the window casings and 
muUions to be painted three coats of stone color; the last two coats 
of which must be sanded. All doors to be filled, when of hard- 
wood, with paste Filler, and coated with one coat of Liquid Filler 
and one coat of outside varnish; without rubbing. Matched putty 
must be used in stopping up. 

. . . INSIDE PAINTING . . . 

The wood work in the vestibule and entry will be built of Oak, 
and to be stained and filled, medium dark; and after being well 



46 



puttied up, to have one coat of Liquid Filler, one coat of best Hard 
Oil Finish and one coat of the best Wax Varnish. Samples of this 
work must be shown by the painter for approval. All the interior 
hardwood work of the church must be done in precisely the same 
manner excepting where otherwise specified. The work must be 
left smooth to the hand and a good job produced; all smoothing up 
to be done with No. sandpaper. The pew ends and arms to have 
an extra coat of Hard Oil Finish instead of Wax Varnish, and to be 
rubbed to a good finish with pumice stone and oil. All the roof 
timbers, trusses, purlins, etc., will be built in pine or other light 
wood, and must be stained to imitate the general wood work, and 
have one coat of AVax Varnish. The chambers to be painted a rich 
red terra cotta color, in flat finish. 

. . . WALLS AND CEILINGS . . . 

All the plastered surfaces in the enirance and main body of the 
church come under this head and must be treated as follows: A 
strong alum fresco size to be laid on all over, and the entire surface 
decorated in water (fresco) colors. The main ceiling to be a light 
greenish blue, with stiles and divisions made by broad, stenciled and 
hand painted ornaments, in the Romanesque or Transition style. 



47 



The colors of the ornamentation to be shades of the wood and blue, 
with red terra cotta as a contrast. Rosettes of bright orange to be 
used, as well as lines of the same color, to represent gold. No 
bronze to be used on the main ceiling. The walls of the main 
church must be tinted in three shades of terra cotta, beginning light 
at the cornice and shading down darker to the bottom of the 
wmdows. The lower course of the wall, from the bottom of the 
windows to the base board, to be painted two coats of dark terra 
cotta in oil; the last coat flat; over this dado or base to be painted 
a border twelve inches wide (spirited in drawing) in rich red and 
light cobalt blue, outlined with orange color and gold bronze. A 
little black to be worked in to give the ornament dignity and 
stability. The walls above this border to be divided into panels by 
a bordering of interlaced lines, in black and light orange bronze; 
the bronze predominating two to one. On the panels to be stenciled 
2. fluer-de-lis ornament as an a-ll-over pattern, arranged in lozenge or 
diamond form; the color to be about the same depth as the middle 
tint of the wall, a shade redder, with a tint of vermilion. A little 
spark of bright blue must be used m this figure to harmonize the 
wall with the main ceiling. The walls of the chancel to be in terra 
cotta and blue; the shades to be more full and rich and the orna- 



48 



mentation more elaborate. All must, however, be in the same style 
as the ornament specified. On the large ground or wall panel of 
the chancel to be laid a ground of clear cobalt blue in water color, 
on which must be recorded in illuminated text, the beatitudes from 
Christ's Sermon on the Mount. The lettering to be in gold leaf and 
the ornamental painting in bright colors and tones of the blue. 

. . . VESTIBULE AND ENTRY . , 

The plastered surfaces here and on the stairways to be tinted 
in colors corresponding to those of the interior. The ceihngs to be 
neatly ornamented in the Romanesque, and a broad frieze or border 
to be carried around at the toj) of the wall, in shades of terra cotta. 
There must be a dado or base five feet high from the floor, painted 
three coats in oil color, the last coat flat. A six-inch border in 
water color to be put on along the top of this dado as a finish. The 
oil painted base to extend up and down the stairs on the wall, this 
to be three feet in width instead of five feet. The six-inch border 
must also be carried along the top as on the wider dado. 

, , , YESTI^Y AND SUNDAY SCHOOL ROOMS . . . 

The wood work in all these rooms to be painted two coats and 
grained neatly in imitation of cherry and finished with one coat of 
Wax Varnish. 



49 



. . . WALLS AND CEILINGS . . . 

The walls and ceilings of the sunday-schools and vestry proper 
to be tinted in water colors (light tints). The ceilings to be 
bordered with a plain stile about eighteen inches wide with a wide 
line joining the stiles and panel. The walls to be colored a light 
terra cotta and the color well bound with glue to prevent rubbing up. 




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